Earlier this month, I went to an interactive screening of
The Room at one of my locals. Again. I lost count a while ago, but I’ve
definitely reached double digits in how many times I’ve done this already. Under
normal circumstances, I don’t go and see movies at the cinema more than once;
the only time I can remember doing it was with Spy Kids 3, and that was
ultimately because I missed the first few minutes the first time round. I also
don’t usually advocate for repeatedly giving money to what is undoubtedly a
very, very bad filmmaker, especially
not to this degree. However, this is why I have always shown leniency towards
films that can be enjoyed by less than legitimate means, and The Room in
particular because these are less screenings and more a form of communion. A mass
of people getting together that all have the same approach to movie-going as I
do is a rarity in today’s day and age, and it is kind of comforting to be able
to connect with that many people about something. I bring all this up because
the idea of ironic entertainment is hardly a new concept and has been around
for a long time, with today’s film highlighting one of the earliest examples of
it. I’m coming into this with a certain understanding of the phenomenon that
would normally have me on some mental ward waiting list, but I wouldn’t have it
any other way honestly. So, with all that said, let’s get started with today’s
film.
